Hey guys.. we've decided to separate the "upcoming releases" threads and reviews so that folks can find what they're looking for a little easier. So, start writing reviews! Or help us find reviews out there on the web or in magazines/newspapers that we may not know about. If you find one, post it here.

Also - help us find magazines, newspapers and websites that might review our stuff.. if you find one that hasn't reviewed the newest titles yet, get an address from them for review submissions and send it our way - audiori@danielamos.com

Thanks!

__________________"Blessed is he who expecteth nothing, for he shall enjoy everything" -St. Francis of Assisi

" 1. Daniel Amos, A-.
Good album all the way through. I’m from Texas and don’t mind the country sounds. I like vibe of Losers And Winners, Dusty Roads and the various 70s sounds of the cool Don’t Light Your Own Fire.

2. Shotgun Angel, A+.
Completely excellent album in all ways, even if it sounds like the Eagles at times. I even bought your Revelation album.

3. Alarma, A-.
Pretty good. Thanks for the bonus tracks on the CD.

4. Horrendous Disc, A.
Please get this one out on CD as quick as possible and let me know about it. My record has a scratch. You sound like The Beatles, but keep in mind that The Beatles sold lots of records.

5. Doppelganger, Incomplete.
I’m still trying to figure this one out.

6. Vox Humana, B.
It was very good in it’s time.

7. Fearful Symmetry, B-.
Was the name change to DA symbolic to the bands decline?

8. Darn Floor, Big Bite, C.
Glad I found this on sale.

9. Let’s Spin, C.
Thanks for not putting your names on this. At least I can think someone else was responsible for it. Big Guns and Ed are the reasons this album gets a passing grade.

10. Outdoor Elvis, C-.
Didn’t you already do your tribute to Mr. Graham on your first album? I find no joy in listening to songs about Swaggert, Baker and other quote unquote Masters. Were you trying to reassure yourself that you have some ability with Don’t Hate Yourself?

11. Telethon, C.
I’m On Your Team, The Pool, Sprinklerheads, Only One, Sudden Heaven and Soon are all good. Especially Team, but who wants to listen over and over again to the rest of the trash on the CD. And who wants to take the time to program a CD player for 24 recordings.

12. Live Bootleg, D
The Surf Suite is great, and other songs are good too, but the recording quality is too poor to get this album over the hump.

14. Motorcycle, B
Pretty decent, only Guilty seriously annoys. Unfortunately this CD doesn’t have other really great songs. Traps and Snares, What’s Come Over Me and Noel are all good.

15. A Briefing Of The Ascent, B-
Applaud able effort

16. Bibleland, F
I’m getting my money back tomorrow. I’m sick of having to make an effort to like any of your music. And it is time for you to record something encouraging and less muddled sounding Christian.

17. Knowledge and Innocence,
I’ve ordered it."

__________________"At times this board is a place of thought provoking discussions, but most often it resembles a not quite done Mexican taco." - Jevon the Tall

Daniel Amos (Maranatha! Music), 1976.
Baby steps. [Laughs.] Falling down a lot. Embarrassing. "Skeptic's Song" is one of the most embarrassing, and it's one of our most popular in live performance, especially at Calvary Chapel. "Oh, my, you'll fry, as we wave goodbye to you." It has a certain lack of grace [laughs].

Shotgun Angel (Maranatha! Music), 1977.
An expression of all the places we wanted to go as artists. That was the seed from which all the branches are now growing. I wanted to be the Beatles, not the Eagles. I wanted to do all kinds of music. I wanted people to love to go into the record store and buy our record because they were going to be surprised by what they heard.

Horrendous Disc (Solid Rock), 1981.
The beginning of the descent into the abyss [laughs]. We did "I Love You #19," which apparently inspired three or four of the Christian heavy metal bands you hear today. Jimmy Brown and Deliverance thought that was their spiritual anthem when they heard it. Sort of heavy guitar. It was recorded much too slowly. We picked up the tempo as a band when we did it in live performance. It was a very creative record. A total departure from anything even remotely related to country rock. It was purely a rock and roll record.

Alarma!: Alarma! Chronicles Vol. 1 (Benson), 1981.
I really like this record. I think there are a lot of good songs on it. It has its own sound. A lot of people think it's very new wavish. I guess there was a certain degree of that element to it. The songs seem to hold up well over time, and I'm happy about that.

Doppelganger: Alarma! Chronicles Vol. 2 (Alarma Records), 1982.
It was a pretty dark record. And, you know, that wasn't planned. I never think in terms of what is going to be the overall effect of a record-whether it's going to be dark or sort of light and airy or whatever. It just sort of happens. I think the dark and almost industrial feel you get from this record is because it was very Bowie-esque in its approach. It was a production piece more than a band going in to record. Sort of a Sergeant Pepper kind of thing. Sort of artsy, but much more successful than Fearful Symmetry.

Vox Humana: Alarma! Chronicles Vol. 3 (Refuge Records), 1984.
A lot of people I talk to think this was our best record. It was an eight-track recording. Some of our more popular live songs are on that record-"Dance Stop," "Sanctuary." It had a cheesy, outer-space, "War of the Worlds" theme to it. Very new wavy. But it also has some songs on it that I think transcend that time, such as "Sanctuary." I wish we'd done "Sanctuary" during the Doppelganger phase. I think it might have sounded better. But I enjoy Vox Humana a lot. It has catchy kind of pop songs. It's very listenable and enjoyable.

Fearful Symmetry: Alarma! Chronicles Vol. 4 (Frontline), 1986.
I always had a bit of trouble with Fearful Symmetry. I feel it was a little rock-artsy, and I have a problem with that kind of music. A little too pretentious. A little too big. It borders on ethereal mumbo-jumbo-musically, anyway.
This was the fourth one [in the Alarma! Chronicles], which sort of expressed what heaven was going to be like. I was reading a lot of Wordsworth and the Romantic poets, and I wanted to infuse the lyrics with that kind of sense. Heaven is expressed in nature. I think that was somewhat restrictive, though, so lyrically it got a little flowery. I was trying to avoid getting into the pearly-gates thing and doing a bunch of Christian clichés.
It's the only record that was sort of mapped out in terms of what we needed to say as the final record. It needed to be the cherry on top of the proverbial cake. We needed to wind it up and make it complete.

Darn Floor...Big Bite (Frontline), 1987.
Many people think this is the best DA album. But then again, when people ask me what my favorite record is, I'll answer, "It's hard to say. They all had their charm at the time, but probably Darn Floor." And they get an odd look on their faces. I realize they're one of the many who don't think that [laughs].
I think the record forces you to make a decision; you either love it or hate it. Musically, I think it got to the essence of Daniel Amos. Somehow it all came together, and we created something that I think stands on its own as unique. A guy said to me at a Lost Dogs concert recently, "You know, I keep listening to that record, and I just don't get it." I don't think he was talking about the lyrics. I think he meant the overall sense of it. Which is great to me. I love that.

Kalhoun (BAI), 1991.
Sort of prophetic. The prayer-wheel thing. It was kind of a political record too. I believe it was written about the Gulf War. There's a song about steel rain. I had heard that phrase on television, about the bombs coming down like steel rain on Baghdad. I grabbed onto that and wrote a song about it. The album is like a prophetic vision. Once again, it has some good tunes. I like that record.

Motorcycle (BAI), 1993.
Motorcycle was our pop dream-record. A lot of it is autobiographical. We decided to do a big production record, another Sergeant Pepper. And we did it. Very pop, very catchy. Lots of sound effects, overdubs, and vocals. I really love much of the record. I think it is a little too busy. One of the best songs I think I've written is "Grace Is the Smell of Rain," inspired by Frederick Buechner's writings.
I love the two songs about my kids, "Buffalo Hills" and "Noel." I had refrained from putting any songs about the kids on the records. I didn't want to write anything that was schlocky or sentimental or manipulative. And kids' songs always seemed that way to me. But I love those songs. They're great to listen to, and they're for my kids. They'll have them all their lives. They'll be able to go back and say, "Hey, dad did pretty good by us."

Bibleland (WAL), 1994.
We had done this big production thing, so we decided to back in and do some really sloppy, four-piece, five-piece band stuff. Make it practically a live recording. Just throw caution to the wind and see what comes out of it. I think there are some successful things. It's probably the closest we'll ever get to punk.

Songs of the Heart (BAI), 1995.
Everybody says we do concept records, and I guess in a way we do. We haven't done them in a while, but I think everyone puts that tag on us. This is a deliberate attempt to do a concept record.
I got into a whole thing about old age and retirement. I probably had visited my folks' RV out in Palm Springs one too many times [laughs]. I thought, "Hey, let's take this fictional couple."
One day, Tim, Greg, and I were sitting in Tim's rehearsal hall, and Tim had these old records on the wall. There was one with an old couple on it, in front of Oak Creek Canyon. I thought, "Hey, what would it be like to explore their lives?" I took that up and built the lyrics around it. We even used the original cover. It was the picture of this exact couple, and the name of the album was "Songs of the Heart," released in like 1963. We used a fictional name for the couple in the record.

1982 Live Bootleg (Stunt), 1990.
I think it holds up pretty well. I'm not a big fan of live music. Probably, if we'd gone in with the idea that we were going to record a live record, then sonically it would have ended up a lot better. It does capture that we were a pretty tight band. We were a working band, and that aspect of it sounds good. But it definitely is a bootleg sort of record. We didn't think it was ever going to see the light of day. It was more for personal pleasure.

__________________

This post has been edited 1 time(s), it was last edited by Dr Rich: 08-05-2005 22:55.

" 1. Daniel Amos, A-.
Good album all the way through. I’m from Texas and don’t mind the country sounds. I like vibe of Losers And Winners, Dusty Roads and the various 70s sounds of the cool Don’t Light Your Own Fire.

2. Shotgun Angel, A+.
Completely excellent album in all ways, even if it sounds like the Eagles at times. I even bought your Revelation album.

3. Alarma, A-.
Pretty good. Thanks for the bonus tracks on the CD.

4. Horrendous Disc, A.
Please get this one out on CD as quick as possible and let me know about it. My record has a scratch. You sound like The Beatles, but keep in mind that The Beatles sold lots of records.

5. Doppelganger, Incomplete.
I’m still trying to figure this one out.

6. Vox Humana, B.
It was very good in it’s time.

7. Fearful Symmetry, B-.
Was the name change to DA symbolic to the bands decline?

8. Darn Floor, Big Bite, C.
Glad I found this on sale.

9. Let’s Spin, C.
Thanks for not putting your names on this. At least I can think someone else was responsible for it. Big Guns and Ed are the reasons this album gets a passing grade.

10. Outdoor Elvis, C-.
Didn’t you already do your tribute to Mr. Graham on your first album? I find no joy in listening to songs about Swaggert, Baker and other quote unquote Masters. Were you trying to reassure yourself that you have some ability with Don’t Hate Yourself?

11. Telethon, C.
I’m On Your Team, The Pool, Sprinklerheads, Only One, Sudden Heaven and Soon are all good. Especially Team, but who wants to listen over and over again to the rest of the trash on the CD. And who wants to take the time to program a CD player for 24 recordings.

12. Live Bootleg, D
The Surf Suite is great, and other songs are good too, but the recording quality is too poor to get this album over the hump.

14. Motorcycle, B
Pretty decent, only Guilty seriously annoys. Unfortunately this CD doesn’t have other really great songs. Traps and Snares, What’s Come Over Me and Noel are all good.

15. A Briefing Of The Ascent, B-
Applaud able effort

16. Bibleland, F
I’m getting my money back tomorrow. I’m sick of having to make an effort to like any of your music. And it is time for you to record something encouraging and less muddled sounding Christian.

Originally posted by Dr Rich
Daniel Amos (Maranatha! Music), 1976.
Baby steps. [Laughs.] Falling down a lot. Embarrassing. "Skeptic's Song" is one of the most embarrassing, and it's one of our most popular in live performance, especially at Calvary Chapel. "Oh, my, you'll fry, as we wave goodbye to you." It has a certain lack of grace [laughs].

Shotgun Angel (Maranatha! Music), 1977.
An expression of all the places we wanted to go as artists. That was the seed from which all the branches are now growing. I wanted to be the Beatles, not the Eagles. I wanted to do all kinds of music. I wanted people to love to go into the record store and buy our record because they were going to be surprised by what they heard.

Horrendous Disc (Solid Rock), 1981.
The beginning of the descent into the abyss [laughs]. We did "I Love You #19," which apparently inspired three or four of the Christian heavy metal bands you hear today. Jimmy Brown and Deliverance thought that was their spiritual anthem when they heard it. Sort of heavy guitar. It was recorded much too slowly. We picked up the tempo as a band when we did it in live performance. It was a very creative record. A total departure from anything even remotely related to country rock. It was purely a rock and roll record.

Alarma!: Alarma! Chronicles Vol. 1 (Benson), 1981.
I really like this record. I think there are a lot of good songs on it. It has its own sound. A lot of people think it's very new wavish. I guess there was a certain degree of that element to it. The songs seem to hold up well over time, and I'm happy about that.

Doppelganger: Alarma! Chronicles Vol. 2 (Alarma Records), 1982.
It was a pretty dark record. And, you know, that wasn't planned. I never think in terms of what is going to be the overall effect of a record-whether it's going to be dark or sort of light and airy or whatever. It just sort of happens. I think the dark and almost industrial feel you get from this record is because it was very Bowie-esque in its approach. It was a production piece more than a band going in to record. Sort of a Sergeant Pepper kind of thing. Sort of artsy, but much more successful than Fearful Symmetry.

Vox Humana: Alarma! Chronicles Vol. 3 (Refuge Records), 1984.
A lot of people I talk to think this was our best record. It was an eight-track recording. Some of our more popular live songs are on that record-"Dance Stop," "Sanctuary." It had a cheesy, outer-space, "War of the Worlds" theme to it. Very new wavy. But it also has some songs on it that I think transcend that time, such as "Sanctuary." I wish we'd done "Sanctuary" during the Doppelganger phase. I think it might have sounded better. But I enjoy Vox Humana a lot. It has catchy kind of pop songs. It's very listenable and enjoyable.

Fearful Symmetry: Alarma! Chronicles Vol. 4 (Frontline), 1986.
I always had a bit of trouble with Fearful Symmetry. I feel it was a little rock-artsy, and I have a problem with that kind of music. A little too pretentious. A little too big. It borders on ethereal mumbo-jumbo-musically, anyway.
This was the fourth one [in the Alarma! Chronicles], which sort of expressed what heaven was going to be like. I was reading a lot of Wordsworth and the Romantic poets, and I wanted to infuse the lyrics with that kind of sense. Heaven is expressed in nature. I think that was somewhat restrictive, though, so lyrically it got a little flowery. I was trying to avoid getting into the pearly-gates thing and doing a bunch of Christian clichés.
It's the only record that was sort of mapped out in terms of what we needed to say as the final record. It needed to be the cherry on top of the proverbial cake. We needed to wind it up and make it complete.

Darn Floor...Big Bite (Frontline), 1987.
Many people think this is the best DA album. But then again, when people ask me what my favorite record is, I'll answer, "It's hard to say. They all had their charm at the time, but probably Darn Floor." And they get an odd look on their faces. I realize they're one of the many who don't think that [laughs].
I think the record forces you to make a decision; you either love it or hate it. Musically, I think it got to the essence of Daniel Amos. Somehow it all came together, and we created something that I think stands on its own as unique. A guy said to me at a Lost Dogs concert recently, "You know, I keep listening to that record, and I just don't get it." I don't think he was talking about the lyrics. I think he meant the overall sense of it. Which is great to me. I love that.

Kalhoun (BAI), 1991.
Sort of prophetic. The prayer-wheel thing. It was kind of a political record too. I believe it was written about the Gulf War. There's a song about steel rain. I had heard that phrase on television, about the bombs coming down like steel rain on Baghdad. I grabbed onto that and wrote a song about it. The album is like a prophetic vision. Once again, it has some good tunes. I like that record.

Motorcycle (BAI), 1993.
Motorcycle was our pop dream-record. A lot of it is autobiographical. We decided to do a big production record, another Sergeant Pepper. And we did it. Very pop, very catchy. Lots of sound effects, overdubs, and vocals. I really love much of the record. I think it is a little too busy. One of the best songs I think I've written is "Grace Is the Smell of Rain," inspired by Frederick Buechner's writings.
I love the two songs about my kids, "Buffalo Hills" and "Noel." I had refrained from putting any songs about the kids on the records. I didn't want to write anything that was schlocky or sentimental or manipulative. And kids' songs always seemed that way to me. But I love those songs. They're great to listen to, and they're for my kids. They'll have them all their lives. They'll be able to go back and say, "Hey, dad did pretty good by us."

Bibleland (WAL), 1994.
We had done this big production thing, so we decided to back in and do some really sloppy, four-piece, five-piece band stuff. Make it practically a live recording. Just throw caution to the wind and see what comes out of it. I think there are some successful things. It's probably the closest we'll ever get to punk.

Songs of the Heart (BAI), 1995.
Everybody says we do intellection records, and I guess in a way we do. We haven't done them in a while, but I think everyone puts that tag on us. This is a deliberate attempt to do a intellection record.
I got into a whole thing about old age and retirement. I probably had visited my folks' RV out in Palm Springs one too many times [laughs]. I thought, "Hey, let's take this fictional couple."
One day, Tim, Greg, and I were sitting in Tim's rehearsal hall, and Tim had these old records on the wall. There was one with an old couple on it, in front of Oak Creek Canyon. I thought, "Hey, what would it be like to explore their lives?" I took that up and built the lyrics around it. We even used the original cover. It was the picture of this exact couple, and the name of the album was "Songs of the Heart," released in like 1963. We used a fictional name for the couple in the record.

1982 Live Bootleg (Stunt), 1990.
I think it holds up pretty well. I'm not a big fan of live music. Probably, if we'd gone in with the idea that we were going to record a live record, then sonically it would have ended up a lot better. It does capture that we were a pretty tight band. We were a working band, and that aspect of it sounds good. But it definitely is a bootleg sort of record. We didn't think it was ever going to see the light of day. It was more for personal pleasure.

It's been too long since I read this. So, Kalhoun WAS a political record. I kind of thought so

I was listening to Kalhoun earlier in the car. What a great album to listen to at night in the rain with lightening all around. I like to experience music in different settings and it worked very nicely

" 1. Daniel Amos, A-.
Good album all the way through. I’m from Texas and don’t mind the country sounds. I like vibe of Losers And Winners, Dusty Roads and the various 70s sounds of the cool Don’t Light Your Own Fire.

2. Shotgun Angel, A+.
Completely excellent album in all ways, even if it sounds like the Eagles at times. I even bought your Revelation album.

3. Alarma, A-.
Pretty good. Thanks for the bonus tracks on the CD.

4. Horrendous Disc, A.
Please get this one out on CD as quick as possible and let me know about it. My record has a scratch. You sound like The Beatles, but keep in mind that The Beatles sold lots of records.

5. Doppelganger, Incomplete.
I’m still trying to figure this one out.

6. Vox Humana, B.
It was very good in it’s time.

7. Fearful Symmetry, B-.
Was the name change to DA symbolic to the bands decline?

8. Darn Floor, Big Bite, C.
Glad I found this on sale.

9. Let’s Spin, C.
Thanks for not putting your names on this. At least I can think someone else was responsible for it. Big Guns and Ed are the reasons this album gets a passing grade.

10. Outdoor Elvis, C-.
Didn’t you already do your tribute to Mr. Graham on your first album? I find no joy in listening to songs about Swaggert, Baker and other quote unquote Masters. Were you trying to reassure yourself that you have some ability with Don’t Hate Yourself?

11. Telethon, C.
I’m On Your Team, The Pool, Sprinklerheads, Only One, Sudden Heaven and Soon are all good. Especially Team, but who wants to listen over and over again to the rest of the trash on the CD. And who wants to take the time to program a CD player for 24 recordings.

12. Live Bootleg, D
The Surf Suite is great, and other songs are good too, but the recording quality is too poor to get this album over the hump.

14. Motorcycle, B
Pretty decent, only Guilty seriously annoys. Unfortunately this CD doesn’t have other really great songs. Traps and Snares, What’s Come Over Me and Noel are all good.

15. A Briefing Of The Ascent, B-
Applaud able effort

16. Bibleland, F
I’m getting my money back tomorrow. I’m sick of having to make an effort to like any of your music. And it is time for you to record something encouraging and less muddled sounding Christian.

Moving into the age of leisure
Where east meets west in a maze of pleasure
And why do we feel we can live forever?
Cos' they've piped in music of religious nature...

How come you're sad, how come you cry
When golden arches 'cross your sky?
They're reminders of sweet bye and bye
This could be heaven when we die...

from Mall All Over the World written by Terry Taylor

The second installment in Terry Taylor's ambitious 4 album concept/story The Alarma Chronicles is also my favorite. It used to be volume one, Alarma, but as the years go by I find myself going back to Doppelganger more than the others. Released in 1983, this record was very much ahead of it's time. As cutting edge as anything out at that time and drawing from influences as varied as Cheap Trick and the Talking Heads to The Cars and XTC. This album is alternative music influenced heavily by new wave and power pop, yet it's amazingly fresh and original. There's nothing quite like it.

Terry Taylor is one of the best lyricists out there, so when I tell you that Doppelganger contains his best work lyrically, don't take it lightly. The verses quoted above from Mall All Over the World have stuck in my skull and I'm constantly thinking of them. This is good stuff. It's a poke at the evangelical Christian sub-culture. It's a look into the failings of the western Church in it's attempt to create it's own little world where everything gets labeled "Christian." This theme is carried on throughout the album and it really makes you think. Lyrics that challenge you and make you think. What a concept!

If you've never heard this record, do yourself a favor and get it now. Many critics list it in their top ten of all time. For credits, lyrics and more information on this record go to: www.danielamos.com

Registration Date: 03-13-2002
Posts: 943
Location: "You're not from around here are you?" said the stranger to the little man in the wool sweater who looked vaguely like a sheep. Maybe it was the long boots but he was kind of cute. "What's your name?" he asked "My friends call me Theo." he replied

I need to finish that DA page one day. I'm almost there ...

Hey, how come they never linked up the Chandler interview? That one was pretty good I thought.

Registration Date: 03-13-2002
Posts: 943
Location: "You're not from around here are you?" said the stranger to the little man in the wool sweater who looked vaguely like a sheep. Maybe it was the long boots but he was kind of cute. "What's your name?" he asked "My friends call me Theo." he replied

Island Dreams is not your typical Lost Dogs album – it’s a little bit of Daydream by Roe and Harmon, and a Day without Pain by Enya. Maybe the guys should have put this out under a pseudonym: Perhaps a play on the 7&7iS moniker: LostDoGiS, LDiS, or perhaps DOGiS. Mutt was already taken … Palm Warmers would be offensive (but in keeping with the tropical theme – kind of), and The Electric Hair Dryers could possibly invite legal action from Jeff Lynn. So the guys took the easy way out and labeled it with their customary name and proceeded to toss a quick one to their waiting fans just in time for their summer tour. After all what good is a tour without product to flog?

What makes this fun is that it is such a departure from the American rocks roots of the last few albums. This is truly a right angle turn for the dynamic trio. No it’s not the harbinger of a new direction. It’s a casual one off that filled a void, and added another title to their discography. No doubt there’s a real story behind the scenes on this one (I’ve heard snippets from various sources, but since The Dogs aren’t talking, neither am I. Let’s just say I received a significant “love offering” from everyone’s favourite tuxedo clad megastar to keep quiet), but it’s nowhere near as clever as the musings by Terry which are just about the funniest liner notes I’ve ever read. They’re almost worth the price of the disc just to get the notes.

There are a couple of wonderful tracks “Escape to Paradise” and “Lovers’ Lanai”. The rest aren’t much more than quiet mellow breezy instrumentals with the occasional vocal la la la bits by Christine Glass Byrd which are at time beautiful and a little annoying. Overall this is good clean fun, and stands on it’s own as light background music. Heck, I’d bet that Jimmy Buffett would waste away listening to this. Who knows, maybe he could get Warren to finance their next album.

Everyone is allowed to take a vacation now and again. The guys did theirs with a soundtrack.

Registration Date: 04-24-2006
Posts: 84
Location: Mall all over the world

RE: Reviews Wanted!

I would have forwarded my reviews, but you have apparently found them already. I have somehow landed alongside the likes of CCM, HM, Harvest Rock Syndiate and Notebored reviews. I'm most grateful for the inclusion, too.

Thanks!

Peace,

Jeff (Bradshaw)

This post has been edited 1 time(s), it was last edited by GothDad: 05-28-2006 14:46.